MythBusters: Fashion History Edition

Myth: It is ancient tradition that each of the clans of Scotland has it's own unique tartan.

The lords of three Scottish clans from Disney/Pixar's movie Brave (2012).

Sadly, this is a myth. I've always thought it was rather fun to find the family tartan. But this 'tradition' is actually the result of a 19th century marketing scheme to capitalize on the popularity of the romanticized Highlander myth.

The colorful tartan pattern seems to have originated in Flanders and came to the Highlands through the Lowlands. Sixteenth century writers note that the plaids of chiefs were colored and those of their followers were brown, indicating that any differentiation in color was a mark of social status rather than being connected with a particular clan. The clan system itself had been destroyed after the Scottish rebellion of 1745, when acts of Parliament removed chiefs from their jurisdictions and banned any Highland costume. This last act wasn't lifted until 1782, at which point the general population of the Highlands, having become used to trousers, didn't see any reason to return to the traditional belted plaid or tartan, or the new convenient kilts (invented in 1727, a topic for another post!) The upper classes, on the other hand, enthusiastically picked up the traditional garb reclaiming their lost 'heritage'.

The romantic movement had swept in, bringing with it the cult of the noble savage. The endangered traditional Highlander fit perfectly into this romantic notion. Romanticized Scottish history was given a further boost when King George IV made a momentous visit to Edinburgh in 1822. The King wished to see Highlanders in their traditional garb, and thus created a huge demand for tartans. The biggest manufacturing firm was William Wilson and Son of Bannockburn. Messrs., which released a "Key Pattern Book" in 1819 when the royal visit was first announced, showing samples of their various tartans and which clan they belonged to. When the King finally arrived in Scotland, he himself was dressed in a kilt and gave a toast to "the chieftains and clans of Scotland."

But the most important figures in the creation of clan tartans were the brothers Allen, an eccentric pair who often appeared at fashionable events dressed "in all the extravagance of which the Highland costume is capable-- every kind of tag and rag, false orders and tinsel ornaments." In 1829 they presented their aristocratic patron, Sir Thomas Dick Lauder, with a manuscript entitled "Vestiarium Scoticum", or The Garde-robe of Scotland. According to the brothers, this manuscript had belonged to John Leslie, Bishop of Rosss, the confidant of Mary Queen of Scots. Supposedly it had been written much earlier by a knight named Sir Richard Urquhart, and featured descriptions of the different clan tartans. But it wasn't until 1842, and under the new patronage of Lord Lovat, that the Vestiarium was published in a lavish limited edition with colored illustrations. Then in 1844, the Allen brothers published an even more lavish folio, titled "The Costume of the Clans", which cited ancient sources and claimed that Highland dress was actually a relic of the universal dress of the Middle Ages.

Unfortunately for the Allen brothers, their works received little notice. They themselves were discredited in 1847. After making numerous claims of royal blood, the brothers, who had at this point changed their name to Sobieski Stuart, were exposed as phonies in an editorial in the Quarterly Review. The brothers never recovered, and their works never gained a great amount of publicity. However, the idea of clan tartans was growing ever more popular, and the rest of the century saw the publication of numerous books of clan tartans, all derived from the Vestiarium.


There is so much more fascinating detail to this story than what I have put here, so if you'd like to learn more I highly recommend the article The Highlander Myth by Hugh Trevor Roper.

Photo Credit

James Tissot, Charles Baudelaire, and Fashion: Tissot's Paintings

Part 1: Introduction
Part 2: Baudelaire on Fashion

James Tissot. Too Early. 1873. Oil on canvas. London: Guildhall Art Gallery.

Too Early (1873) is one of Tissot’s most celebrated and famous works. Louise Jopling, an artist and friend of Tissot, wrote that the painting “made a great sensation” when it was shown at the Royal Academy in 1873. She continued in her praise, saying that the painting was “a new departure in art, this witty representation of modern life.” Too Early shows a snapshot in time, a moment of awkward embarrassment in which guests have arrived too early to a party. As proclaimed by contemporary etiquette, “A ballroom should be entered at an hour suited to the habits of those who invite you. It is extremely inconvenient however, to be too early, as you may disconcert your friends.” The hostess administers last minute instructions to the musicians, while her guests fidget and avoid eye contact. In the back corner, too servants peer through a slightly opened door, seeming to laugh at the awkwardness of the scene before them. This social faux pas indicates that the guests are only pretenders, members of the nouveau riche with plenty of money but none of the social graces of a true aristocrat. Critics praised Too Early for this “truthfulness and delicate perception of the humor of the ‘situation,’ for a parallel to which we must look in the novels of Jane Austen, the great painter of humor in ‘polite society.’”

James Tissot. Hush! 1875. Oil on canvas. Manchester: City of Manchester Art Galleries. 

Hush! (1875) presents another snapshot, perhaps from a later moment at the party seen in Too Early. Like the previous painting, critics found themselves able to identify with the scene. “This is a picture which cannot fail to interest the majority of the visitors to the academy, because it deals with incidents and people with which the are abundantly familiar,” wrote one. Although all the guests have arrived, they still appear vastly uncomfortable. No one is interested in the impending performance, too concerned are they with appearing fashionably nonchalant. The sweeping curve of the staircase, viewed through a back doorway, and the circle of chairs around the violinist suggest a literal social circle, into which the viewer is invited. The room depicted is a salon in Kensington, and the party has been identified as one hosted by the Coope family and attended by Tissot. Although Tissot claimed the subjects were anonymous, scholars have identified various real figures: Sir Jules Benedict (the pianist), artists Giuseppe de Nittis and Ferdinant Heilbuth, and Vanity Fair publisher Thomas Gibson Bowles. Hush! was Tissot’s greatest commercial success, selling for 1200 guineas.

James Tissot. The Ball on Shipboard. 1874. Oil on canvas. London: Tate Gallery. 

The Ball on Shipboard (1874) presents a different, although no less awkward, social scene. The painting is set on the royal yacht, the Victoria and Albert, at Cowes on the Isle of Wight. The ship is decorated with various national flags, and various members of London society have gathered for socializing and dancing. Yet once again, there is an overtone of boredom. The woman closest to the viewer, wearing a black and white striped gown, stares blankly into the distance. Two women in matching white dresses stand awkwardly, looking away from each other with neutral expressions while their elderly companion leans lazily against a railing.

Critical reception to The Ball on Shipboard was negative. The work was described as “vulgar”, a loaded term in the nineteenth century. According to John Ruskin, vulgarity could be defined as “an undue regard to appearances and manners… and an assumption of behavior, language, or dress, unsuited to them, by persons in inferior stations of life.” Indeed, although the figures on the ship seem to be members of good society, a deeper analysis suggests otherwise. The women in green and blue, seated in the background on the left of the canvas, display too much décolletage for the daytime. One commentator described the image as “a set of rather showy than elegant costumes, some few graceful, but more ungraceful attitudes, and not a lady in a score of female figures.” Furthermore, the gowns worn by many of the women are unnecessarily showy, with bright colors and multiple ruffles, suggesting the ‘vulgar’ ostentation associated with social climbers and the nouveau riche. These elements combine to suggest the instability of society of the period, where wealth was replacing heredity, an uneasy notion for many.

James Tissot, Charles Baudelaire, and Fashion: Baudelaire on Fashion

Part 1: Introduction

Portrait of Charles Baudelaire by Emile Deroy, 1844. In the collection of the Musée national des châteaux de Versailles et de Trianon.

Tissot’s London paintings provide a detailed and nuanced look at contemporary society. He captures ‘modernity’, a word coined by Baudelaire in The Painter of Modern Life (1863). For Baudelaire, an important element of this modernity was the correct representation of contemporary fashion. He writes:

“The draperies of Rubens or Veronese will in no way teach you how to depict mouire antique, satin a la reine or any other fabric of modern manufacture, which we see supported and hung over crinoline or starched muslin petticoat… Finally the gesture and the bearing of the woman of today give to her dress a life and a special character which are not those of the woman of the past. In short, for any ‘modernity’ to be worthy of one day taking its place as ‘antiquity’, it is necessary for the mysterious beauty which human life accidentally puts into it to be distilled from it.”

Baudelaire places emphasis on fashion and beauty, citing it as one of the key visual indicators of modernity. He argues that for a work of art to take its place in the annals of history, a human essence and sense of life must be present. The artist can best portray this intangible concept through capturing his surroundings, for example, the clothes, gestures, and particular beauty associated with that particular moment in time. It is that which the artist is most familiar with, which the artist truly understands, because that is the context in which the artist lives. As Nancy Rose Marhsall summarizes, “The clothing of the body in fashion, a procedure representing its socialization, worked to locate the female form in a particular moment, removing it from the realm of the ideal and investing it with cultural and historical specificity—with modernity, in fact, which Tissot embraced.”

Baudelaire places such an emphasis on fashion because he associates it with the essence of humanity itself. The artist must represent contemporary fashion because fashion is an essential part of humanity, and it is through fashion that this can be seen. He particularly focuses on women, writing:

“Everything that adorns woman, everything that serves to show off her beauty, is part of herself; and those artists who have made a particular study of this enigmatic being dote no less on all the details of the mandus muliebris than on Woman herself… What poet, in sitting down to paint the pleasure caused by the sight of a beautiful woman, would venture to separate her from her costume?”

Baudelaire's arguments have since become one of the key theories in the field of fashion history, but I believe that is a topic for another post.

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